And what is more, she is so intensely interesting that the girls admire her above all else. But Miss Brodie is not honest. She prevaricates and then tells the girls to do as she tells them, not as she does herself. She is having an affair with the music teacher and has had one with the art teacher, and this is not the most exemplary conduct. A

    But before she can hit send, her girlfriend reveals that he has always identified as a man and now wants to start living as one.Now Alice must face a question she never thought she'd ask . . . does this mean she's straight?A bittersweet comedy about gender, sexuality and being a long way from home.A programme text edition which was published to coincide with the world premiere at Theatre503, London, on 27 October 2015

    Right is much easier said than done. While surrounding himself with his close group of girlfriends it comes to pass that the only thing harder than looking for love is supporting the loved ones around you. From the critically acclaimed writer who brought you Bad Jews.

    Born in the last quarter of the sixth century, Aeschylus had fought with the victorious Greeks in one and probably both of the Persian Wars (190 and 480-79). He died around 456 at about seventy years of age in Gela, Sicily. His epitaph records his role as a soldier at Marathon, not his artistic achievements, but these were many. The author of more than seventy plays, he won his first of thirteen tragic victories in 484. Of these plays, only seven remain. The Oresteia is Aeschylus' only complete surviving trilogy; the satyr play with which it was first performed, Proteus, is lost. Peter Meineck has aimed to translate the Oresteia for the modern stage.

    These four constant companions become one in this brilliantly witty, time-jumping, loving tribute (and cautionary tale) dedicated to the people-and machines-upon which we all depend.

    Using Kiplingesque imagery, Brecht explores personality as something that can be dismantled and reassembled like a machine, in a parable that the critic Walter Kerr credited with a "curious foreshadowing of the art of brainwashing." This edition also includes The Elephant Calf, which was originally part of the main play. This translation by Gerhard Nellhaus (and by Brecht himself, who made his own English version of the first scene) has been equipped by the editors, John Willett and Ralph Manheim, with Brecht's own notes and relevant texts as well as with an extensive editorial commentary on the genesis and variant versions of the play.

    Playwright Olympe De Gouge, assassin Charlotte Corday, and former queen (and fan of ribbons) Marie Antoinette, and Haitian rebel Marianne Angelle hang out, murder Marat, loose their heads, and try to beat back the extremist insanity in revolutionary Paris. This grand and dream-tweaked comedy is about violence and legacy, feminism and terrorism, art and how we actually go about changing the world. It a true story. Or total fiction. Or a play about a play. Or a raucous resurrection that ends in a song and a scaffold.

    Her eldest child is teaching her how to read and write, but the letter "A" is, so far, the only letter she knows. Her five kids are named Jabber, Bully, Trouble, Beauty and Baby, and the characters are played by adult actors who double as five other people in Hester's life: her ex-boyfriend, her social worker, her doctor, her best friend and her minister. While Hester's kids fill her life with joy —lovingly comical moments amid the harsh world of poverty — the adults with whom she comes into contact only hold her back. Nothing can stop the play's tragic end.

    Controversial but successful on the London stage, this play reveals the fate of a "notorious woman" in Victorian England.

    One of his best-loved and most famous plays, it exposes the lies plaguing the family of a wealthy Southern planter of humble origins.

    York Notes author John Scicluna discusses all aspect of An Inspector Calls --a thorough run-down very helpful to anyone studying the famous Priestley play.

    13 selections from one of the most popular musicals ever. Includes: All Good Gifts * Bless the Lord * By My Side * Day by Day * Prepare Ye (The Way of the Lord) * and more.

    They've returned home to toast their mentor Gina, newly inducted as president of a tiny Catholic college. But as their reunion spirals into spiritual chaos and clashing generational politics, it becomes less a celebration than a vicious fight to be understood. On a chilly night in the middle of America, Will Arbery's haunting play offers grace and disarming clarity, speaking to the heart of a country at war with itself.

    . . even more ambitious than Vogel's "How I Learned to Drive" . . . it covers more ground and is bolder in its storytelling. Vogel's language is at its most poetic, eloquent and elegiac. In fact, its vivid imagery rivals the prose style of any great American short story writer. The play sounds like it might have been adapted from a beautiful, undiscovered novella."-"New Haven Register""One of the most absorbing evenings of theatre to come along in some time."-"Variety"Past and present collide on a snowy Christmas Eve for a troubled family of five. Humorous and heart-wrenching, this beautifully written play proves that magic can be found in the simplest breaths of life. Combining the elements of No theatre and Bunraku with contemporary Western sensibilities, Vogel's "Ride" is a mesmerizing homage to the works of Thornton Wilder, including "Our Town." A moving and memorable study of the American family careening near the edge of oblivion.Paula Vogel's plays include "The Baltimore Waltz," "Mineola Twins," "Hot 'n' Throbbing," "Desdemona," "And Baby Makes Seven," among others. Ms. Vogel will be the resident playwright during the Signature Theatre's 2004?05 season dedicated to her works. She has taught at Brown University in the MFA playwriting program since 1985.

    In the century since its first performance, The Cherry Orchard has undergone a wide range of conflicting interpretations: tragic and comic, naturalistic and symbolic, reactionary and radical. Beginning with the 1904 premiere at Stanislavsky's Moscow Art Theatre, this study traces the performance history of one of the landmark plays of the modern theatre. Considering the work of such directors as Anatoly Efros, Giorgio Strehler, Peter Brook, and Peter Stein, Chekhov: The Cherry Orchard explores the way different artists, periods and cultures have reinvented Chekhov's poignant comedy of failure and hope.